Beat Hackers — Notes Junky

Мой обзор нового альбома для любимого discogs.com.

Beat Hackers goes beyond beat hacking

Sometimes artist do album 2 absolutely different from album 1, and so many fans turn away from them. Sometimes album 2 is so much the same as album 1, and people say: hey, we’ve heard that stuff already, you are repeating yourself. So it’s kind of, you know, can’t satisfy everyone. Guy Peled managed to maintain what I liked him for while really taking it up to the next level.

All Filters Up is a promising opener. Gosh, that’s so cool Michelle Adamson was not invited to spoil this one. D.M.I is nothing special to me, then Move With The Groove is a hello to Infected Mushroom’s Horus The Chorus — a good one.

Beat De Lucia is wonderful. Do you remember Yahel’s Angel Jonathan back from 2000? It was a great mix of analogue and digital, sounding like a one solid composition. This is something of that kind, but in a more 2007 quality. The transition from a live piece at 4:33 to a trademark beat-hacking over it is very, very nice.

Experience is rather normal full on track, however should I have found it on some average album I think I would mark it as good. Beat Theater takes you back to old Beat Hackers’ days with the dry growling synths, the infected-ish stopstarts, the crazy filters and the overall attitude. Baby Killer (did I see this title somewhere already?) continues with a desperate crying melody, of three notes. Stupid as a brick, it still sounds ok thanks to the good soundwork.

Notes Junky is an absolute winner. It starts from where Baby Killer left off gaining more and more optimism along the way. It reintroduces live instruments, reminding you the enjoyment from Beat De Lucia. The ending is delightful and cheesy, not in a way you would hate it, but in a way you can’t help loving it all your heart and mind. Shift from 4:4 to 4:6 adds some zest to it, making it a cheese for the connoisseur, if you let me say so. Amazing. The closing track The Big Fraud is worth listening also: it’s not a regular downtempo finisher which is there just to be there; it has something to show you.

This is not some breakthrough music that will let you finally understand the reason of your life, I’m not saying that. The album is just fantastically good in being Israeli full-on that even Vibe Tribe can start being envious, and at the same time it’s fresh and open-minded.

It’s both danceable and it’s listenable. It’s both groovy and intelligent.

Snuffing the notes does its bit.